國內數位人文計劃自2005年以來持續發展，迄今已有相當成果，更具多元面向延展潛力。然而，數位概念與人文研究之交叉媒合，似乎仍有很大的努力空間，這是由於國內數位文化藝術作品的闕如，致使相關研究之輻輳與向度亦有限。本文視周東彥與周書毅合作之數位表演藝術作品《空的記憶》（2012）所呈現之數位性，為具有發展社會性批判的可能，因此以之為探問窗口，耙梳國內外數位藝術、批判理論及在地研究等文獻，發展出「數位史詩」之研究方法與模型，期豐富在地理論建構的社群。所謂「數位史詩」乃以數位性作為方法，透過高度疏離、非線性敘事之視聽效果，形構社會批判之當代表演論述。本文首先聚焦數位性與史詩劇場相輔相合的可能性，提出「酷異時間性」的概念，以檢視數位科技如何在舞台上瓦解直線史觀與進步乃論，進而導向酷異政略，反身衝擊當代社會議題。繼而，援引Henri Lefebvre的「空間的生產」論述及Gaston Bachelard的「空間詩學」，檢視《空的記憶》作品中數位空間的酷異性，探問數位酷異空間如何挑釁與挑戰劇場內外社會空間的運作規制。最後，徵引Sigmund Freud的鬱結論述，藉由舞者的「重複」及「尋找」兩種舞蹈動作，檢視其身體質地所體現出的數位時代之「鬱結性」。

Launched in 2005, the Digital Humanities Research Center in Taiwan has shown great achievements and demonstrated its extensive potential. Nevertheless, this intersection between digital and critical research has yet to be investigated in depth: not only does the digital cultural industry still struggle to survive, but also the interaction between digital studies and cultural discourses awaits development. This paper sees the digital attributes of Chou Tung-Yen and Chou Shu-Yi's piece Emptied Memories (2012) a novel pattern of social critique, hence taking it a starting point for research. By bringing together archives and repertoires of the digital arts, critical theories, and production materials, this paper aims to develop an epistemological model of ＂digital epic＂ that contributes to the construction of local discourses. ＂Digital epic＂ works as a contemporary performance theory that mobilizes social critique through theatrical effects of alienation and non-linear narrative, which emerge from digital presentation on stage. The first section elaborates the idea of queer temporality, examining the way in which digital technologies trouble progressivism on stage; the second section combines Lefebvre's concept of spatial production with Bachelard's notion of spatial poetics to highlight the queer spatiality of the piece; the final section articulates the ideas of melancholia discussed by Freud in order to tease out the corporeal melancholia of the digital age.